… -- plus the oddly high dBs of the quieter tracks in relation to the 'shouters.'

Good point. Twenty Small Cigars and The Clap are too loud. There is something like that on other remastered reissued, too. For instance the Captain Beefheart spoken word tracks on Bongo Fury. I didn't compare to the vinyl records yet. So maybe it has been always like this. Or, when it is different on the records, maybe some track to track balancing was decided and done during disc cutting in the old days. It that case it would be no good idea to have the unaltered balance of the mastertape on the finished product. Or it is because of modern times iTunes/mp3-player mentality, where the culture of the flow of an album got lost and everything is normalized to the same level.

And for the hiss: George's organ intro on Road Ladies wouldn't sound that good anymore if you would try to remove the hiss. My brain automatically masks the hiss when it is constant.

Th.

_________________Active forum member since 2005 - R E T I R E D from public forum activity in 2013

And for the hiss: George's organ intro on Road Ladies wouldn't sound that good anymore if you would try to remove the hiss. My brain automatically masks the hiss when it is constant.

Th.

it's not hiss. more than likely it's the sound of the rotating speaker in George's Leslie Cabinets.

Unlike a high-fidelity loudspeaker, the Leslie is specifically designed, via reproduction of the Doppler effect, to alter or modify sound. Although there have been many variations over the years, the classic Leslie speaker consists of two driver units - a stationary treble unit with spinning horns, and a stationary woofer and spinning rotor, with a crossover, that divides the frequencies between the horn and the woofer. The key feature is that both the horns (in reality one working horn with a dummy to counterbalance it) and a sound baffle or scoop for the bass are electromechanically rotated to create Doppler effect–based vibrato, tremolo and chorus effects. The rotating elements can be stopped, switched between slow (chorale) and fast (tremolo), or transitioned between the two settings. To stop a Leslie's rotor, a special brake circuit was added to the Leslie motor controls, that incorporated a tube relay, which sent the rotors into chorale before cutting power from the rotors to bring them to a quicker stop. Solid state relays now make this possible. A three-position switch must be used to allow the rotors to "brake" on a two-speed Leslie. Some other model Leslies had no slow motor and were basically one speed, "fast" or "off."

Much of the Leslie's unique tone is due to the fact that the system is at least partially enclosed, whereby linear louvres along the sides and front of the unit can vent the sound from within the box after the sound has bounced around inside, mellowing it.[3] The tone is also affected by the wood used. Tone differences, due to cost cutting using particle board for speaker and rotor shelves instead of the previous plywood, are evident in the Leslie's sound. The thinner ply of the top of the cabinet adds a certain resonance as well. Like an acoustic instrument, a Leslie's tone is uniquely defined by its cabinet design and construction, the amp and speakers used, and the motors—not merely by the spinning of rotors.

_________________Make your checks payable to QUENTIN ROBERT DeNAMELAND, Greatest Living Philostopher Known to Mankind.

In any case, I think the organ sounds absolutely perfect. And I think the recording quality of Chunga's is top notch 1970 quality. Very natural and realistic, not over-produced. You feel like being in the same room with the band, when listening to this reissue.

Th.

_________________Active forum member since 2005 - R E T I R E D from public forum activity in 2013

And for the hiss: George's organ intro on Road Ladies wouldn't sound that good anymore if you would try to remove the hiss. My brain automatically masks the hiss when it is constant.

Th.

it's not hiss.

Hehe, quote of the day --There sure are multitudes of sources for hiss in early effects units and such -- it's still hiss and I don't like it much. I'd much prefer a prolific engineer dealing with it and still coming up with a great sound, instead of going " Uh, that's authentic 1970 sonics, there's nothing that can beat 45 year-old technology, and also it's an awful lot of work we won't have to do" It's all a matter of personal taste (and age,) I guess.

Oh, I see, I should have written 'hiss' instead of 'tape hiss' in the first place -- my fault. Or on second thought - maybe not..

@buffalo_voice: Do you have Burnt Weeny Sandwich? Both CD versions, old and new? I would like to know what you prefer when comparing the piano intros of LHIUTLI. The old version where the hiss is being switched on and off. Or the new version where the hiss remains constant?

Every electronic circuit produces hiss more or less. I would rather insert hiss in blank spaces than make use of audible noise reduction.

Another example of bad noise reduction where the artifacts are worse than the noise: the old CD version of Zoot Allures. A denoiser was likely used here. The higher frequencies get filtered out when the signal level decreases (excuse my bad English here). One can hear that very obviusly during the fadeouts. The softer the signal gets, the more higher frequencies disappear.

I used to think your way when I was younger. But I changed my mind with age. Maybe I need the hiss now to be sure than I can still hear

Th.

_________________Active forum member since 2005 - R E T I R E D from public forum activity in 2013

No, I didn't bother to get the new BWS, because my old version's divine in all respects. Makes me wanna eat it. I was raised on post-punk era recordings (as they're supposedly being called today), I go for attack (aggression?) rather than 'gemütlichkeit,' and I don't want to have musicians in my room. They should surprise me with their own. I think I once read 'XY (insert 1980s CD reissue) is making my ears ring' -- I'd say that for a compliment, you (I'm almost entirely sure) wouldn't. A good chunk of 2000s remaster output (in general) has a strange 'overweight-y' feel to it, for my peculiar tastes, with all the boosted bottom end and clumsy tape noise. But that's a zeitgeist phenomenon I guess. The 'sharp and slender cut': You probably find it in visual art rather than in (popular?) musics, nowadays.

Okay, now that I have the new Läther in my hands, I take it back, the four panel gallery is a nice idea. And I like the way they've packaged it. The point is that you will be able to put it on the shelf with the others because it's exactly the same size. I'm glad it's not one of those mega sized hard plastic 3 CD jobs.

_________________The way I see it Barry, this should be a very dynamite show.

No, I didn't bother to get the new BWS, because my old version's divine in all respects. Makes me wanna eat it. I was raised on post-punk era recordings (as they're supposedly being called today), I go for attack (aggression?) rather than 'gemütlichkeit,' and I don't want to have musicians in my room. They should surprise me with their own. I think I once read 'XY (insert 1980s CD reissue) is making my ears ring' -- I'd say that for a compliment, you (I'm almost entirely sure) wouldn't. A good chunk of 2000s remaster output (in general) has a strange 'overweight-y' feel to it, for my peculiar tastes, with all the boosted bottom end and clumsy tape noise. But that's a zeitgeist phenomenon I guess. The 'sharp and slender cut': You probably find it in visual art rather than in (popular?) musics, nowadays.

The new BWS is amazing, far better than the reverbed, pinched sounding old CD. Give it a shot!

I received my order of Läther from UK today. Call me nuts but I prefer it without the bonus tracks. I like the packaging too. Unfortunately it's so tight It's tough to insert and remove the cds from the pockets. Let alone put them in round-bottomed sleeves and insert them. If they would just make these a little taller you could use them like LP sleeves. As they are the cds will never go back in the case. Läther gets a special place on the shelf anyways so I'll cope.I'm done for now. If one more Zappa cd comes in the mail I'll be sleepin' on the sofa.

The outer panels fold over first, then the whole thing is folded in the middle, so the two middle panels are the front and back and when you open it up first you see the two outer panels, then fold those out and you see the four page album plan. It's a nice package.

_________________The way I see it Barry, this should be a very dynamite show.

The outer panels fold over first, then the whole thing is folded in the middle, so the two middle panels are the front and back and when you open it up first you see the two outer panels, then fold those out and you see the four page album plan. It's a nice package.

Any noticeable audio differences between the AU20 versions versus the new versions of Apostrophe (') and OSFA, or are they exactly the same?

I really didn't notice much difference, OSFA seems a bit brighter, but maybe it's a placebo effect I always thought the AU20 versions sounded great, but since the new ones were 9.99 and they are two of my favorite studio albums, I went with 'em. New Lather art/layout looks neat, but I see no need to purchase again. Finally got The Grand Wazoo(from EU) and it sounds superb . I now have all the 2012 reissues I needed.

Who is online

Users browsing this forum: Baidu [Spider] and 4 guests

You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot post attachments in this forum